Images at Librifly

search results: Engraving clear search

Medallion: Head of a Helmeted Warrior with a Shield decorated with a Horse, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after unknown artist, undated, Engraving

Portrait of a Man (Duke of Bridgewater ?), James Heath, 1757–1834, British, after unknown artist, undated, Engraving

George Morland, Benjamin Holl, 1808–1884, British, after unknown artist, undated, Stipple Engraving

Mr. Keuible in the Character of King Richard, III, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after William Hamilton, 1751–1801, British, 1790, Engraving

George Lord Digby Earl of Bristol, Print made by Jacobus Houbraken, 1698–1780, Dutch, after Sir Anthony Van Dyck, 1599–1641, Flemish, active in Britain (1620–21; 1632–34; 1635–41), 1738, Line engraving, stipple engraving and

Simon Vouet, Robert van Voerst, 1597–1636, Dutch, active in Britain (from 1627), after Sir Anthony Van Dyck, 1599–1641, Flemish, active in Britain (1620–21; 1632–34; 1635–41), ca.1635, Line engraving on medium, slightlly

A View of the Water Mill near Lewisham in Kent, unknown artist, after unknown artist, 1770, Hand colored engraving, Sheet: 6 7/8 x 10 7/8in. (17.5 x 27.6cm

Sir David Wilkie, Print made by James Charles Armytage, 1802–1897, British, after Thomas Phillips, 1770–1845, British, after 1829, Line engraving, stipple engraving, and etching on thick, slightly textured, beige wove paper, Sheet:

Caudebec, James Baylis Allen, 1803–1876, British, after Joseph Mallord William Turner, 1775–1851, British, 1833, Etching and line engraving, Engraver's proof

'It's Auld Ailie Hersell', James Charles Armytage, 1802–1897, British, after Joseph Mallord William Turner, 1775–1851, British, 1836, Line engraving, first published state

The Lady and the Rooks, Print made by Edward Calvert, 1799–1883, British, 1829, Wood-engraving on thin, smooth, cream Asian paper, Sheet: 2 3/16 x 3 1/2 inches (5.6 x 8.9 cm) and Image: 1 5/8 x 3 1/16 inches (4.2 x 7.7 cm), birds,

The Kitchen belonging to Letherseller's Hall, Demolished in 1799, unknown artist, after unknown artist, 1800, Engraving

A View of the Centre Cross Walk &c. in Vauxhall Gardens, Edward Rooker, 1724–1774, British, after Canaletto, 1697–1768, Venetian, active in Britain (1746–55), 1794, Engraving, leisure, England, Lambeth, London, Southwark, United

St. Anne's Hill, No. II, Edward Alfred Goodall, 1819–1908, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Line engraving, engraver's proof on thick, slightly textured, cream, wove paper, with cream, chine

St. Mark's Place, Venice - Juliet and her Nurse, Print made by George Hollis, 1792–1842, British, after Joseph Mallord William Turner, 1775–1851, British, 1842, Etching and line engraving; engraver's proof on moderately thick, slightly

The Farmyard (tail piece), Print made by Alfred W. Cooper, active 1850–1901, British, after Alfred W. Cooper, active 1850–1901, British, undated, Wood-engraving with hand coloring on medium, slightly textured, cream wove paper, Sheet:

East Prospect of Elizabeth Castle in Jersy, John Boydell, 1720–1804, British, after unknown artist, ( J. d'Auvergne ), undated, Engraving, Sheet: 20 3/4 x 28 5/8in. (52.7 x 72.7cm

Scene on the Loire, Robert Wallis, 1794–1878, British, after Joseph Mallord William Turner, 1775–1851, British, 1833, Line engraving, engraver's proof

Coast Scene with Fishermen Hauling a Boat Ashore, Print made by Edward P. Brandard, 1819–1898, British, after Joseph Mallord William Turner, 1775–1851, British, undated, Line engraving, engraver's proof

Ad Metellae Echo, Print made by unknown artist, Published by Antonio Lafreri, 1512–1577, French, 1549, Line engraving and etching on medium, slightly textured, cream laid paper

Bridge of St. Cloud & Sevres, William Radclyffe, 1780–1855, British, after Joseph Mallord William Turner, 1775–1851, British, 1835, Line engraving, engraver's proof (early

The Honourable Henry, Lord Mulgrave, 1st Earl of Mulgrave, William Skelton, 1763–1848, British, after Sir William Beechey, 1753–1839, British, 1808, Line engraving on moderately thick, moderately textured, cream, laid paper, Sheet:

Speculum Romanae Magnificentiae, Antonio Lafreri, 1512–1577, French, 1546-1590, Line engraving on medium, slightly textured, cream laid paper

St. Mary's, Lambeth, S. Jenkins, active 1814–1818, after George Shepherd, active 1782–1830, 1818, Engraving

The Methodist Tailor Caught in Adultery, Print made by unknown artist, (Cabbage ), Published by Robert Sayer, 1725–1794, British, 1768, Etching and line engraving on moderately thick, moderately textured, beige laid paper, Sheet: 11 1/8 x

Charter House, Great Hall, Edward Pryce Owen, 1788–1863, British, after T. Prattent, active 1751, 1813, Engraving, Sheet: 4 11/16 × 6 5/16 inches (11.9 × 16 cm

Paradise Lost, Book V, John Henry Robinson, 1796–1871, British, after Richard Westall, 1765–1836, British, no date, Engraving, Sheet: 7 1/2 x 10 1/4in. (19.1 x 26cm

Wha Wants Me?, James Gillray, 1757–1815, British, 1792, Engraving, Sheet: 25 3/8 x 19in. (64.5 x 48.3cm

House in Great St. Helens, T. Prattent, active 1751, after T. Prattent, active 1751, 1796, Engraving on slightly textured, medium, white wove paper, Sheet: 6 5/8 × 4 1/4 inches (16.8 × 10.8 cm), architectural subject

A View in the Island of Jamaica, of Fort William Estate, with part of Roaring River belonging to Mr. William Beckford, Esq.r near Savannah la Marr, Thomas Vivares, c.1735–c.1790, British, after drawings by George Robertson, 1749–1788,

Mr. C. Sharp, the Well-Known Artist, Mechanic, and Antiquarian (d. 1797), Print made by John Kirby Baldrey, active 1750–1821, after Frans van der Myn, ca. 1719–1783, Dutch, active in Britain, Published by John Kirby Baldrey, active

East View of Wandsworth, James Roberts the Elder, 1725–1799, British, after Jean B. C. Chatelain, 1710–1771, French, 1750, Engraving

St. James's Park, Francis David Soiron, Born 1764, after George Morland, 1763–1804, British, 1790, Stipple engraving, printed in colors, Plate: 18 1/2 x 21 3/8in. (47 x 54.3cm), cow, dog (animal), genre subject, hats, hay, mugs,

Views of Montreal and Louisburg: A View of Louisburg in North America taken near the Light House when that city was beseiged in 1758, Pierre Charles Canot, ca. 1710–1777, French, active in Britain, after Capt. Ince, active 1758, British,

A set of seven, untitled, each dedicated: To the Right Hon'ble. Thomas Lord Viscount Weymouth...from the Original Painting in Long Leat Hall. Two horses standing restlessly outside a stable..., L. Truchy, 1721–1764, Pierre Charles Canot, ca.

Rural Felicity, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Giovanni Battista Cipriani RA, 1727–1785, Italian, active in Britain (1755-85), 1789, Engraving

A Prospect from the Sea of little St. Mark's Place with the Publick Buildings on either side..., Remi Parr, active 1723–1750, British, after unknown artist, (Marieschi, M.), undated, Hand-colored engraving on wove paper, Sheet: 12 1/2 x

Shakspeare, after Abraham Wivell, 1786–1899, British, 1827, Etching, stipple engraving and line engraving on wove paper, Image: 5 3/8 x 4 1/2in. (13.7 x 11.4cm), Sheet: 12 1/8 x 9 1/4in. (30.8 x 23.5cm), and Plate: 9 3/4 x 7 3/8in. (24.8 x

Young's Night Thoughts, Page 1, 'Swift on His Downy Pinion Flies from Woe', Print made by William Blake, 1757–1827, British, 1797, Etching and line engraving with watercolor on moderately thick, slightly textured, cream wove paper, Spine:

Princess Charlotte Augusta, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Richard Cosway, 1742–1821, British, 1797, Engraving

Laugharne Castle, John Horsburgh, 1791–1869, British, after Joseph Mallord William Turner, 1775–1851, British, 1833, Line engraving, 1st state on thick, slightly textured, cream, wove paper, with cream, chine colle, Sheet: 9 5/16

Plate 8, The Industrious 'Prentice Grown Rich and Sheriff of London, Print made by William Hogarth, 1697–1764, British, After William Hogarth, 1697–1764, British, 1747, Etching with line engraving, Sheet: 10 1/2 × 13 3/4 inches (26.7

Land Discoverd by Columbus, Edward Alfred Goodall, 1819–1908, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Line engraving, engraver's proof on thick, slightly textured, cream, wove paper, with cream, chine

Bethlehem Hospital, William Henry Toms, ca. 1700–ca. 1750, British, after unknown artist, undated, Engraving

Richmond, Yorkshire, W. R. Smith, active 1819–1851, after Joseph Mallord William Turner, 1775–1851, British, 1827-1838, Line engraving, engraver's proof

The Inside View of the Royal Exchange at London, unknown artist, eighteenth century, after unknown artist, undated, Engraving

Polling at the Hustings, Thomas Cook, 1744–1818, British, after William Hogarth, 1697–1764, British, 1808, Engraving

The Wild Bull, of the Ancient Caledonian Breed, Now in the Park, at Chillingham-Castle, Northumberland., Print made by Thomas Bewick, 1753–1828, British, 1789, Wood-engraving on medium, moderately textured, cream wove paper, Sheet: 7

Frederick Duke of Schomberg, Jacobus Houbraken, 1698–1780, Dutch, after Sir Godfrey Kneller, 1646–1723, German, active in Britain (from 1676), 1739, Engraving; Proof before letters, with engraver's name and date only, Sheet: 18 1/2 x

Billingsgate, Print made by William Bernard Cooke, 1778–1855, British, after Samuel Owen, 1768–1857, British, 1814, Engraving on slightly textured, medium, cream wove paper, Sheet: 7 15/16 × 10 5/8 inches (20.2 × 27 cm), Plate: 5

Powis Castle, James T. Willmore, 1800–1863, British, after Joseph Mallord William Turner, 1775–1851, British, 1836, Line engraving, 3rd state on moderately thick, smooth, cream, wove paper, Sheet: 11 1/8 × 15 inches (28.3 × 38.1

British Plenty, Charles Knight, 1743–c.1826, British, after Henry Singleton, 1766–1839, British, 1794, Stipple engraving, partially printed in color, Plate: 20 1/4 x 16in. (51.4 x 40.6cm) and Sheet: 22 1/2 x 17 3/4in. (57.2 x 45.1cm

Henry VI, Part II: Act I, Scene iv, Mother Jourdaine, Himi---, Charles Gauthier Playter, died 1809, And Robert Thew, 1758–1802, British, after John Opie, 1761–1807, British, 1803, Engraving, Sheet: 17 3/8 x 23 3/16in. (44.1 x

Villa Madama, Moonlight, Print made by Henry Le Keux, 1787–1868, British, after Joseph Mallord William Turner, 1775–1851, British, 1830, Etching and line engraving on medium, slightly textured, cream wove paper, arcades,

George Abbot Archbishop of Canterbury, Print made by Jacobus Houbraken, 1698–1780, Dutch, ca. 1745, Line engraving on medium, slightly textured, cream laid paper

Newark Castle, Print made by William Bernard Cooke, 1778–1855, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Line engraving; engraver's proof on medium, slightly textured, cream wove paper with chine-coll

Tortoise, Print made by James Heath, 1757–1834, British, after James Bruce, 1730–1794, British, 1789, Engraving, hand colored, animal art, tortoise

Joannes Snellincx, Pieter de Jode, ca. 1606–1674, Flemish, after Sir Anthony Van Dyck, 1599–1641, Flemish, active in Britain (1620–21; 1632–34; 1635–41), ca.1635, Engraving and etching, (2nd state) on medium, slightly textured,

Tantallon Castle, Edward Alfred Goodall, 1819–1908, British, after Joseph Mallord William Turner, 1775–1851, British, 1822, Line engraving, engraver's proof on moderately thick, moderately textured, cream, wove paper, wth gray chine

Portrait of Turner, William Holl, 1807–1871, British, after Joseph Mallord William Turner, 1775–1851, British, 1859-1879, Steel engraving

Egglestone Abbey, near Barnard Castle, Thomas Higham, 1796–1844, British, after Joseph Mallord William Turner, 1775–1851, British, 1818-1823, Line engraving and etching, engraver's proof on moderately thick, slightly textured, cream,

Sir Thomas Graham, 1st Baron Lynedoch, Henry R. Cook, active 1802–1849, British, active in Britain and France, after Sir Thomas Lawrence, 1769–1830, British, 1813, Engraving on moderatley thick, moderately textured, cream, wove

Cavalry Man attacking Foot Soldiers, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after unknown artist, undated, Engraving

Edward IV, Renold Elstrack, 1570–1625(?), British, Published by Compton Holland, active 1616–d.1621, British, 1618 or 1628, Line engraving on medium, slightly textured, beige laid paper (page in book), laid on mount, Sheet: 7 3/8 x 4

Lady Acland and Children, Print made by Samuel Cousins, 1801–1887, British, after Sir Thomas Lawrence, 1769–1830, British, 1826, Mezzotint, line engraving, and stipple engraving on moderately thick, slightly textured, cream laid

Vauxhall Gardens shewing the Grand Walk, Benjamin Cole, (after?), 1697–1783, British, after unknown artist, undated, Engraving, leisure, England, Lambeth, London, Southwark, United Kingdom, Vauxhall Gardens

A Perspective View of Lincoln's Inn, John Maurer, active 1713–1761, after John Maurer, active 1713–1761, 1741, Engraving

The Monument, William Henry Toms, ca. 1700–ca. 1750, British, after unknown artist, c. 1740, Engraving

Contemplation, Caroline Watson, 1760–1814, British, after Sir Joshua Reynolds RA, 1723–1792, British, 1790, Engraving on moderately thick, slightly textured, laid paper, Sheet: 13 7/8 × 11 1/4 inches (35.2 × 28.6 cm) and Image: 10

Plate 42 (page 93): 'If angels tremble, 'tis at such a sight', William Blake, 1757–1827, British, Attributed to Edward Young, 1683–1765, British, 1797, Engraving

Mustering of the Warrior Angels, Robert Brandard, 1805–1862, British, after Joseph Mallord William Turner, 1775–1851, British, 1835, Line engraving, 1st published state, Sheet: 17 3/16 x 11 3/4in. (43.7 x 29.8cm), DON'T USE: 17 3/16in.

The Goddess of Discord, Thomas Abiel Prior, 1809–1886, British, after Joseph Mallord William Turner, 1775–1851, British, 1859-1879, Steel engraving

Ramah and Rachel's Tomb, William Finden, 1787–1852, British, after Joseph Mallord William Turner, 1775–1851, British, 1836, Etching and engraving, engraver's proof

The South East View of Alnwick Castle in Northumberland, Samuel Buck, 1696–1779, British, Nathaniel Buck, active 1727–1753, after Samuel Buck, 1696–1779, British, and Nathaniel Buck, active 1727–1753, 1728, Engraving

John Bunyan's Meeting House and the School connected therewith, unknown artist, ( Dale ), after Jacob C. Schnebbelie, 1760–1792, British, 1822, Engraving

A Tournament in St. Mark's Place, Print made by Edward Alfred Goodall, 1819–1908, British, after Thomas Stothard, 1755–1834, British, 1830, Etching and line engraving on medium, slightly textured, cream wove paper

Jericho, William Finden, 1787–1852, British, after Joseph Mallord William Turner, 1775–1851, British, 1836, Line engraving

Woman dying on a Bed, one Man and two Women mourn Her, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Giovanni Battista Cipriani RA, 1727–1785, Italian, active in Britain (1755-85), 1787, Engraving

Ticket to Mr. Fierville's Ball, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Giovanni Battista Cipriani RA, 1727–1785, Italian, active in Britain (1755-85), 1781, Line engraving

Colchester, Essex, Robert Wallis, 1794–1878, British, after Joseph Mallord William Turner, 1775–1851, British, 1827-1838, Etching and engraving, first published state

Lord Ullin's Daughter, Robert Wallis, 1794–1878, British, after Joseph Mallord William Turner, 1775–1851, British, 1837, Line engraving, engraver's proof

One of Seven Engraved Reproductions from 'Roger's Italy', M. H. Long, after Joseph Mallord William Turner, 1775–1851, British, 1884, Engraving

Sandy Knowe, or Smailholm Tower (Vignette), William Miller, 1796–1882, British, after Joseph Mallord William Turner, 1775–1851, British, 1839, Etching and engraving

A View of Stocks Market, Henry Fletcher, 1729–active 1750, after Joseph Nickolls, active 1713–ca. 1755, British, 1763, Engraving, Sheet: 12 5/8 x 17 15/16in. (32.1 x 45.6cm

Painting in the Sepulchres of Thebes, James Heath, 1757–1834, British, after James Bruce, 1730–1794, British, 1789, Engraving

Lambing Time (tail piece), Print made by Alfred W. Cooper, active 1850–1901, British, after Alfred W. Cooper, active 1850–1901, British, undated, Wood-engraving with hand coloring on moderately thick, slightly textured, cream wove

La Soeur, Alexander Bannerman, ca. 1730–1780, after unknown artist, undated, Line engraving on medium, slightly textured, cream wove paper, Sheet: 11 7/8 x 9 1/8 inches (30.2 x 23.2 cm), Plate: 7 1/4 x 5 1/2 inches (18.4 x 14 cm), and

Henry Bennet, 1st Earl of Arlington, Jacobus Houbraken, 1698–1780, Dutch, after Sir Peter Lely, 1618–1680, Dutch, active in England (from 1643), 1739, Engraving on moderately thick, moderately textured, cream, laid paper, Sheet: 15

Edgar, 'King Lear', Act III, Scene III, John Hamilton Mortimer, 1740–1779, British, after John Hamilton Mortimer, 1740–1779, British, 1775, Engraving, Sheet: 16 x 13in. (40.6 x 33cm

Plate 10, The Industrious 'Prentice Alderman of London, The Idle One Brought Before him & Impeach'd by his Accomplice, Print made by William Hogarth, 1697–1764, British, After William Hogarth, 1697–1764, British, 1747, Etching with line

Statue of a Man, James Heath, 1757–1834, British, after James Bruce, 1730–1794, British, ca. 1804, Engraving

Lady Preparing for Evening at a Ball, unknown artist, 1776, Engraving in brown ink

Bank of England Royal Exchange, James H. Kernot, active early 19th century, after William Marlow, 1740–1813, British, 1800, Engraving on smooth, moderately thick, cream wove paper, Sheet: 14 9/16 × 19 3/8 inches (37 × 49.2 cm) and

Visiting Card of Mrs. Parker, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Giovanni Battista Cipriani RA, 1727–1785, Italian, active in Britain (1755-85), 1785, Etching and line engraving on

Patterdale, James Heath, 1757–1834, British, after Joseph Mallord William Turner, 1775–1851, British, Print made by James Heath, 1757–1834, British, 1805, Line engraving, first published state

Eul, Looking towards Triport, Print made by J. C. Varrall, active 1815–1827, after Clarkson Stanfield, 1793–1867, British, Published by Longman, active 1804–1914, British, undated, Line engraving on medium, slightly textured, cream

Samuel Clarke, Print made by Jacobus Houbraken, 1698–1780, Dutch, after Thomas Gibson, c.1680–1751, British, ca. 1745, Line engraving on medium, slightly textured, cream laid paper

Jedburgh Abbey, Print made by Robert Brandard, 1805–1862, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Etching and line engraving on medium, slightly textured, cream wove paper with chine-coll

Illussmaa. Dña, Genovesa D'Urphe, Vidua, Caroli. Alexand. Duc. Croi. Marchon. de Havre. Etc., Pieter de Jode, ca. 1606–1674, Flemish, after Sir Anthony Van Dyck, 1599–1641, Flemish, active in Britain (1620–21; 1632–34; 1635–41),

Platts Spinning Machine, Print made by Florence Claxton, active 1855–1889, British, undated, Wood-engraving, Sheet: 6 x 9in. (15.2 x 22.9cm), crowd, genre subject, industrialization, loom, machine, spinning

search results: Engraving clear search